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News | The Band | History | Discography | Media | Contact
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Copyright © Cocteau Twins 2009. All Rights Reserved
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October 2008 - Cocteau Twins win Q Magazine Music Award for "Inspiration"!
Better late than never, perhaps? Having never won any awards in their 16 years together, Cocteau Twins were honored at this
year's Q Magazine Awards in the category "Inspiration." All three former band members were on-hand to accept the award and
Robin, Liz and Simon each offered a few words of thanks.
September 2008 CocteauFest 2008 in London
Thanks to all the fans who showed up for this year's
CocteauFest in London! The word from organizer Hebe
Kátia Silva: "The dream finally came true for me. Despite
a rainy night in London, the COCTEAUFEST 2008 was a
great success with 63 people attending. Everyone
enjoyed themselves immensely, with lots of dancing,
drinks flowing, and great music."
Attendees at this year's event hailed from the UK, USA
and The Netherlands. Special thanks to Robin Guthrie and Simon Raymonde for their generous donations for the raffle!
August 2008 New "Limited-Edition" Vinyl Releases of Head Over Heels and Sunburst and Snowblind?
A limited edition release of the Cocteau Twins' classic 1983 album and e.p, remastered from the
original analogue tapes, in 180g vinyl. Sunburst and Snowblind is on dark violet coloured vinyl. The
new sleeve artwork is printed on heavyweight 350g double white board,
picture labels and heavyweight inner bags. This release also features brand
new packaging artwork. Cocteau Twins' classic 1983 album, remastered from
the original analogue tapes in 180g vinyl. The new sleeve artwork is printed
on heavyweight 350g double white board, picture labels and heavyweight
inner bag. Releases are scheduled for October, 2008.
Here's what Robin Guthrie had to say about this news:
"Well, this is news to me... There is just so much, so fucking wrong about, both the label doing this and positive response of you
folks... I would imagine that any of you buying the music on this pathetic, exploitative release has bought it already, probably
several times over... Once again, it's nice to see the label treating the legacy of my band with sooo much respect... Gotta
squeeze that last little bit of toothpaste out of the tube, huh? Sorry if this seems a little negative but... doesn't the whole idea of
this seem just a tad, how can I put it, transparent and ugly to anyone but me? Um, I hate to be a killjoy but, well for one thing, it'd
be nice to find this out directly from the people that are exploiting us other than a fan site.... and the other thing being that I
would seriously doubt the authenticity of any claim that these have been mastered from the 'original analogue masters'... I would
find that remarkable given my knowledge of the current whereabouts and condition of the masters...whatever" (Robin Guthrie,
Aug 4/08)
Separately, Robin had this to say on the Forum at CocteauTwinsForums.com:
"I just realized how the tag 'band member side project discussions' at the entrance to this forum is kinda crass. I can't imagine
that anything that myself, Elizabeth or Simon has done in the last 12 years or so should be described as a side project... Side
projects are surely what one does when one is in an active band. I'd hesitate before calling Cocteau Twins an active band these
days. Well, I, at least, could say that for me, anything referring to Cocteau Twins nowadays is a 'side project'. Again I come to
realise that what we did in CT no longer belongs to us, it belongs to you lot, as it probably embeds experiences and memories
unique only to you, but all the same, the term 'side project' implies that the work we have done since we disbanded is somehow
less worthy. I'm sure Elizabeth and Simon don't feel that way about their work. I certainly don't. Anyway the reason I came here
wasn't to be pedantic but to mention that I've moved my weblog to RobinGuthrie.WordPress.com."
CocteauFest 2008
Just when CocteauFEST 2008 (Chicago) was cancelled, UK-based fans have arranged to hold the event in London. Here are
the details: A special night in a nice venue (pub with small dance floor) in Central London on Saturday 4th October 2008 COCTEAUFEST: FROM THE FLAGSTONES PARTY. Everyone is invited and all efforts will be made to provide a nice gift for
each CT Forum fan who attends. A raffle will also take place! Help for anyone who is coming to London especially for this
evening regarding cheap hotels and entertainment should contact "hebe" through cocteautwinsforums.com.
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Founded in 1981 by Robin Guthrie, Will Heggie and Elizabeth Fraser,
g{x
VÉvàxtâ gã|Çá have always been a threesome. In 1983, Will Heggie departed
the band and, in 1984, Simon Raymonde joined Robin and Liz. This lineup
would be the de-facto Cocteau Twins until their breakup in 1998.
A long-time friend of Robin Guthrie, Will Heggie was a founding member of
Cocteau Twins, and collaborated with Robin and Liz on their first LP, Garlands,
in 1982, as well as two subsequent EP's, Lullabies and Peppermint Pig. Will
departed in 1983 to pursue other musical interests, eventually joining the group
Lowlife. Robin played bass for about a year or so before Cocteau Twins crossed paths with Simon Raymonde, and destiny took
its course from there.
Ben Blakeman was born in Salford, England on September 27, 1963 and hadn't heard of the Cocteau Twins until 1989 when
his girlfriend suggested that he answer an ad in a music paper looking for "a guitar player who likes the Cocteau Twins." His
background is strange for a Cocteau Twin as it consists of playing with a psychobilly band (The Highliners) and being a
stripogram. His versatility as a guitarist enables him to pick things up very quickly, and he's been invaluable in the live set-up.
Ben likes to wear a dress on stage.
Benny Di Massa is the Cocteau Twins' first drummer (and spiritual
advisor), playing with the band, on tour from January 1994. Born April
25, 1963 of Italian parents in London, Benny played drums from the
age of 16. Until working with the Cocteaus he filled up his time playing
with the Wolfgang Press, AR Kane and Frazier Chorus, amongst
others. Saddled with the unenviable task of reproducing Robin's drum
programs, Benny coped with style. His affable personality and unusual for a drummer - his willingness to stop hitting the drums when
the rest of the band are trying to talk, made him a welcome addition to
the touring family! Currently he's working on a project called SUFI with
Rudi Tambala from AR Kane.
Lincoln Fong first met Liz and Robin when they arrived at Guerilla 24 track studio in Little Venice, London in 1984 to mix "Ivo"
from the Treasure LP. "I couldn't understand what they were saying but put this down to Robin's having had a few drinks. He
was wearing pointed shoes with sick on them and Liz was apologising profusely. When he sobered up I still couldn't understand
him." He was a fan though and a friendship was struck which led to him telling his employers, who took themselves far too
seriously, what he thought of them.
He went freelance, incorporating doing live sound for the Cocteau Twins into his many activities, another being the wiring of
their 24 track studio in Acton, West London (Called "Smash Palace" among other names), where he engineered many bands
including Cocteau Twins, AR Kane, The Christians, Fuel, The Gun Club and MARRS "Pump Up The Volume" 12" mixes. He
rebuilt the studio on the present site and has continued engineering and producing freelance, maintaining and inventing at
September Sound and working with the Cocteau Twins. He released two LPs of his own under the names For.Mat (the news
set to music and recorded at home on 8 track) and Polar, a collaboration with Hamish Mackintosh (Fuel and The Wave Room).
Additionally, he has played bass in Moose and the Jesus and Mary Chain on tour. He loves travel, songwriting and cats.
Cocteau Twins fans may have seen brother/guitar maker Russell
Fong's guitars and 5-string basses being used by Robin, Simon and
Mitsuo on the Four Calendar Café and Heaven or Las Vegas tours.
Russell has built and repaired guitars for many bands. RUSSELL
FONG GUITARS: London 0171-357 0260
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Born: August 29, 1963 in Grangemouth, Scotland. Liz is the vocalist and lyricist in
Cocteau Twins, and co-founded the group in Scotland in 1981 with her long-time
companion Robin Guthrie and their friend Will Heggie. Her unique vocal stylings and
mysterious, indecipherable lyrics have generated much debate over the years, but she
has often been taciturn on the matter when asked about it.
Now among the world's most acclaimed singers, she parted ways professionally with
Cocteau Twins in 1998 to pursue her solo ambitions. Liz has appeared as a guestvocalist on numerous other recordings with other artists, has performed for film
soundtracks, and was invited by Peter Gabriel to lend her spectacular voice to the
UK's "Milennium Dome Project" in 1999. Liz has two daughters—Lucy and Lily—and
makes her home in Bristol, England with her partner, musician Damon Reece.
Who are some of Liz's favorite singers? British music tabloid Melody Maker asked that
very question of her in November 1993, and here's what she had to say:
Nina Simone, Vocal Hero
"Robin was going 'Björk! Björk! Choose Björk!" but I didn't give in. I chose Nina Simone
because she's played such a big part of my life recently. Lawrence from Felt made me a tape with 'Nuff Said on one side and
Baltimore on the other. I thought it was brilliant then. But now...I've developed much more, both a singer and in my own life.
"Nina Simone...she's, she's just done so much. I don't know much about her life but that doesn't bother me, because I've learnt
so much about her through her material. She's so vulnerable. And I can really relate to that. A lot of her songs are about being
fallible. She's a really dysfunctional person. And dysfunctional people are attracted to each other. I guess that's why I am
attracted to her. We both had a rough life. She's familiar.
"I adore her versions of 'Don't let me be misunderstood' and 'Four Women'. Perhaps because I'm having a sad day. And so my
favorite song is Nina Simone's version of 'Wild is the Wind.' And I'll probably play it quite a lot today. Especially the live version;
this live version I've got is just fucking, I don't know, I just haven't got the vocabulary. I mostly listen to Nina Simone when I am
feeling really raw. The more raw i feel, the more I relate to her.
"And when she sings, when she performs, she tends to get very caught
up in what's she's singing about. When you listen to Nina Simone,
she's so vulnerable. And because you're implicated in her plight, you
automatically share it. I don't really do that with people. And I want to
do that, and so I guess I am using her with which to do that.
"I'd like to talk about Nina Simone's sexuality, but I am very much out of
my depth there. In fact, I think Nina Simone is going to be a way of
finding out more about my sexuality, and how I fit in with other women,
you know, in my world. I don't know what kind of impact I've had in it.
Or what kind of impact it's had on me. But I know I get a lot of help from
the experiences she sings about.
"These days, I try and communicate as well as I can through singing. Even when I am not using words, people can understand
what lies beneath it. Making lyrics more audible on this album [Four-Calendar Café] was more for my benefit. To bring me closer
to myself. I have to summon up a lot of courage to make records. That's why we don't release albums very often. I lack the
courage to be more prolific. I am a perfectionist, too. That doesn't help.
"My duets? I did 'Candleland' with Ian Mcculloch and 'Primitive Painters' with Felt. I would like to sing with everybody. 'Primitive
Painters' came about because I knew Lawrence. I fucking think it's...oh God! I was so young! You see, I want to get to the stage
where I can really take responsibility for what I've done. I ought to be proud of that? Well...but I'm not! You see, I just want it all. I
want to be at my most mature at any one time, rather than in the next God knows how many years.
"Someone said they could get me a duet with Van Morrison. He's an odd bugger,
through! I'd be terrified of him, even though he's probably a teddy bear really! I'd love to
sing with Jeff Buckley—Tim Buckley's son. He is currently making his first album, and if
it's anything like a radio session I heard by him, it should be amazing. He's written this
song called 'Grace', which literally makes the hair on my neck stand on end. I was
sweating like a fucking June bride when I first heard him. Music has never done that to
me before.
"There are so many good singers about at the moment. So much good stuff out there. I
love Joni Mitchell, Billie Holliday, Van Morrison, David Bowie, John Lydon, Sinatra, Tim
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Buckley, Bryan Ferry, loads of people! I also love 'Creep' by Radiohead. That guy
sounds amazing! He's really working out his anger. I really want to meet that guy and
tell him to get a grip!
"Oh, and Kate Bush, too. I love her. The new album [The Red Shoes]—I've been
overdosing on it. She's just got a touch with this part of her that's really kicking in, to do
with her being female. This really organic thing, you know...she's making a lot of noise,
which is something else I like.
"Polly Harvey? She scares me. She goes on about sex a lot, which is another subject I don't particulary want to tackle. It's great
that she's allowed to do it, though. That she's allowed to express herself. Harriet Wheeler's excellent, too. I think she's a great
singer. I know she gets compared to me a lot, but she's definitely got something of herown. I've been compared a lot to Siouxsie,
and I am sure it must be there even though I can't quite see it myself.
"Have I noticed the similarity between Cocteau Twins and Thieves? Well, I've heard 'Unworthy'. Robin brought it into the studio
and played it to us. It's a gorgeous melody.
"Yeah. All in all, I'd say there's a lot of competition about. And that's great for all of us."
Other Influences
A few years later, in Mojo magazine, Liz had this to say about singing, her voice and other vocal influences:
"I enjoy singers like Neil Tennant [of Pet Shop Boys] and John Lydon [Sex Pistols, PiL], and there are plenty of great rap artists,
so being a great singer isn't necessarily how broad your range is. It's more how singers let every part of their personality come
out. Like Tim Buckley, who was good at just letting go—he'd sometimes make the most primeval noises. Nina Simone is
emotionally all over the place, warts and all. The singers I like best are unafraid—they've taken risks their whole careers and
chosen to be true to themselves rather than just be successful. People tell me I had a voice at primary school, but it took me
years to truly believe it. For ages I treated it as a transient thing—but i must have taken it seriously because I stayed in the
Cocteau Twins. The more records we made, the more I started to accept it and enjoy it. Working with different people has given
me the opportunity to discover more, and stretch myself, because I'm still not very confident.
"Singing in the studio? Really sexy! And scary. I usually write in the studio so it's totally spontaneous, and very exciting because
I don't know what's going to happen next. I feel like I'm reaching out, in the same way that people do when they enter a room full
of strangers. You try and open up and look for similarities so you can connect, but without giving up your identity. And it's a
challenge every time, because you could lie, or go through the motions, and some people will buy into that. so it's a cross
between joy and pain. The harder I work, the more honest I'm being, the bigger the pay-off, and I can give myself a break,
because I did it properly!"
Fraser's choice of top ten singers: Björk, Tim Buckley, Kate Bush, Judy Henske, Billie Holliday, Esther Ofarim, Edith Piaf, Nina
Simone, Frank Sinatra, Les Voix Bulgares.
Solo Work
So far, only one "solo" work from Liz has emerged since the Cocteau Twins disbanded. This essentially unofficial, or "white
label" release was entitled "Underwater," and included trance mixes of the title song. Although Liz had been reported to have
signed a recording contract with Blanco y Negro, there is no official word yet on whether this will ever evolve into a full-length
record. Stay tuned...
Collaborations and Guest Appearances
Liz has worked with a number of musicians over the years on special projects or as a guest vocalist with other groups. This list
is in chronological order from earliest to most recent.
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Robin is a co-founder of Cocteau Twins, and is one of the principal songwriters and
musicians. Robin's unique style of guitar-playing and songwriting—not to mention
his deft production skills in the recording studio—have earned him the respect of
musicians throughout the world..
Working at first with Will Heggie and, since, with Simon, Robin has played guitar,
bass, keyboards, drums and other instruments over the years, plus programming,
sampling and sound processing.
Robin shares duties with Simon as a partner in Bella Union Records, and he now
works and lives in France with his wife, Florence, and their two children. He is also
the proud father of Lucy Belle, his daughter with Liz.
In addition to his work as a producer and engineer, Robin's latest musical collaboration is Violet Indiana, with singer Siobhan de
Maré (formerly of MONO). VI's first full-length LP, Roulette, was released in 2001 to much critical acclaim. Their second LP,
Russian Doll was released in 2004. Robin's first solo record, Imperial, was released in March 2003 by Bella Union. His
follow-up LP, Continental—plus two EPs, Everlasting and Waiting for Dawn—were released in spring 2006. (You can buy
Robin's solo albums online at Darla Records in the USA and from RocketGirl in the UK.)
Robin's online presence can be felt here.
It would seem difficult to imagine Robin's favorite records. What does such an influential musician listen to when he wants to
relax or feel inspired? Melody Maker put him to the question in 1993. Some of his answers may surprise you, others may not.
My Favorite Records
Nick Cave & The Bad Seeds: "The Mercy Seat"
"They've been such a consistent band over the years. We used to follow The Birthday Party about, they were the ones that
were responsible for getting us a deal with 4AD. Not a bit like the Cocteaus? Naah, it was that big guitar noise you got on 'The
Friend Catcher' that was one of the things that inspired us. I've got a lot of time for Nick Cave. Every couple of years I retune
myself into what's he doing, even the sea shanty stuff as some people call it. I'm a sucker for wasted types, men who can wear
tight trousers and pointy shoes without looking like a pillock. Me, I turned out the wrong shape to be wasted!"
Donna Summer: "State of Independence"
"This was a hit in the early Eighties. I love the arrangement of it, the movement, the way it built up. This was just as we were
starting out and maybe it influenced the way we built our sound up. It was before she became a born-again Christian and
started talking about the evils of homosexuality when most of her fans were on the Hi-NRG circuit.
The Pop Group: "She is beyond Good and Evil"
"I haven't actually heard this in years but it sums up a particular moment in time for me. Again, it was the noise he [Mark Stewart]
made. He's still really good now. The Pop Group were the first ones ever to mix post-punk with fun and dance rhythms. But it
was always harder than the ones doing it now."
The Birthday Party: "The Friend Catcher"
"I've cheated here, having Nick Cave in twice but what the hell - I just remember listening to The Birthday Party on the radio
thinking, 'Fucking Hell!' We'd be down the front at every gig, follow them around everywhere - when we were still young and
stupid, these people were big stars to us. I know we weren't suppposed to have stars but we were still awestruck even though
we could approach them anytime backstage, in a way you couldn't with Bowie and T Rex. The last time I saw Nick properly was
a couple of years ago back in Sao Paolo. We got ourselves in a horrible state."
The The: "Lonely Planet"
"The The and The Birthday party were both on 4AD so there was no question that that was the label we were going to work for.
So we made a demo, made two copies, sent one to Peel and one to 4AD. We chose 4AD, it never occurred to us that 4AD might
not choose us. We thought it was a dead easy to get a record deal because we were so great - we were fucking crazy. Anyway,
'Lonely Planet', what a fucking record. 'If you can't change the world, change yourself.' It's only recently I've come round to
thinking like that myself. He was only about 20 when he made it. I didn't have much time for the things he was doing a few years
back but with his last album I'm right back into him."
Suicide: "Ghost Rider"
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"I still rip'em off! Them and Roxy Music were the first people I ever heard using keybroads like machines and not just Hammond
organs. The first album was great. You try sitting alone, fucked up on drugs, late at night, listening to that 10 minute track,
'Frankie Teardrop' - you'll fucking die! It's so scary. After that, they went on to make a lot of crap."
Rage Against The Machine: "Killing in The Name"
"Yeah, I love them, love this. It's not particularly the militant thing about them, it's more from hearing it in the clubs, the noise it
makes. I don't know if it's exactly changed my life. I went through a phase a couple of years ago of not listening to anybody
else's music at all, but just this past year I've had an incredibly refreshed attitude, I've rekindled my love. Also, I used to have a
problem about listening to other people's stuff. The way I saw it, if theirs was good it meant mine must be crap. I've had a few
problems in my head with that, I can tell you. It's not being competitive, it's insecurity and it meant not being able to own up to
liking other people's stuff. It's only now I can do something like Rebellious Jukebox."
Patsy Cline: "Sweet Dreams"
"Well, it's the Voice, isn't it? The other Voice! Patsy Cline died 20-odd years ago, so it was a bit tricky getting her to join the
Cocteaus so I had to get Liz. Just go pick up her greatest hits. It's not Country & Western, it's more ballads. Speaking of ballads,
if you want a good, poncey ballad, put in Roddy Frame's 'How Men Are'. King of the poncey ballads, Roddy! I love him."
The Ronettes: "Be My Baby"
"I could have picked any number of Phil Spector tracks - I don't suppose I need to explain why. I've been an obsessive collector
of Phil Spector's stuff, I've got loads and loads on vinyl, a lot of rarities. Nice tunes, big sounds - yeah, it was an obvious
influence."
Roy Orbison: "In Dreams"
"Just before he made his comeback with The Traveling Wilburys, before he died, I saw him at the Mean Fiddler. It was just him,
his guitar and voice, so beautiful, so moving - what a fucking guy. And I was waiting out back to meet him and I did. Y'know what
he said to me? "Get out of the way, son,' as he pushed past me on the way to his limousine."
Radiohead: "Creep"
"I do love this but I know virtually nothing about the band. There was a time when liking a record meant I would have had to go
out and find out everything about the band, these days, as long as it's a good fucking record, I really don't care - which is the
way it should be, I suppose. But this is another of the records that's got me listening to music again."
John Lennon: "Woman"
"This is on his last album, 'Double Fantasy'. John Lennon's somebody I never even listened to until a few years ago. Same with
The Doors, Dylan - I shut all these people out because punk rock told me to. And the wealth of stuff I was denying myself! Punk
had always seemed such a positive energy to me that i never saw the negative side of it...the Cocteau Twins were the
beginning of the end for punk? People think that? Oh, no! We're still making records nbow the way we did then, that's the
bottom line - in the same uncontrived, honest way, doing what the fuck we feel like.
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Simon, along with Robin, is a principal songwriter and musician in Cocteau Twins. Having
joined Liz and Robin in 1984, Simon has helped shape the signature "Cocteau sound" since
then - primarily with bass, guitar, and piano.
Following the break-up of Cocteau Twins in 1997, Simon was the first to release a solo work,
entitled Blame Someone Else, in 1998, which was widely praised by critics and fans alike.
While Simon continues to focus a great deal of energy on Bella Union Records and its
burgeoning stable of new artists, he has collaborated with other groups, including the Autumns
and the Czars, while continuing to pursue his own musical interests.
Simon lives in England with his wife, Karen, and their two sons, Stanley and William. His online
home is www.simonraymonde.com.
This short bio was written by Simon for cocteautwins.com in March 1999. There is also an interview available, courtesy of
Leesa Beales.
Born in 1962 in Tottenham, North London. Father, Ivor Raymonde musician was a big influence writing hits for Dusty
Springfield, such as "I Only Want To Be With You and Stay Awhile," and then onto string arranging for all the Walker Brothers
hits. Played piano and violin at school, but got my first bass aged 15 and learnt the whole of Never Mind the Bollocks, the Sex
Pistols first album, in one afternoon! Naturally felt that this was the instrument for me.
First band (that I'm willing to confess to!) was called the Drowning Craze. We signed to a cool label called Situation 2, housed in
the same building as 4AD, and released three singles between 1981 and 1983, played some great gigs, supporting the Birthday
Party and Bauhaus and Modern English. Notably when we supported the Birthday Party a favourite band of mine, the following
week's music papers reviewed US but not them! (I've still got that press clip somewhere.) Artistic differences and the guitarist
qualifying as an accountant led to the band's demise, probably a blessing in disguise.
Whilst all this is going on, I was working in the record shop underneath 4AD called Beggars Banquet, it was along with Rough
Trade the best record shop in London for punk, dub etc. etc. until one day the boss of Beggars Banquet walked in casually one
morning and announced that we were not to bother to come in tomorrow as the shop was shutting! Moved on to manage a large
record store in the West End, until one day the Area Manager came in on a spot check and discovered two boxes of 250 Phil
Collins albums that had been lying in some forgotten corner! Needless to say, I was on my way. Had known Robin and Liz for a
while through Ivo, and travelled around with all 4AD people to see shows all over Britain. Then while working in a 8 Track studio
in Camden, invited Robin and Liz over to make use of the studio while the boss was off on holiday. One thing very naturally led
to another and Robin and I wrote a song together, which was released as "Millimillenary" on the Pink Opaque. After, I went back
to writing music at home, until I got a call from Robin & Liz asking if I fancied going to Scotland for a week to write some songs.
The rest as they say is history, although as you will soon discover some of that 'written' history is pretty inaccurate.
The best part of my adult life has been spent as a member of an incredible group. It’s all been quite a blur, certainly the first five
years 1983-1988, which are hard to recall in great detail, due partly to a heavy schedule and a chemical overload. The second
phase from Blue Bell Knoll onwards is more memorable, though not all of it very pretty. We were at times very close and then
almost like strangers -- the inevitable outcome of the pressures of living in such close proximity within a fairly surreal world. I
began to eventually embrace the touring schedule, enjoying its’ rigorous disciplines as a way of combating the internal strife's.
Cities became my playground and solitary escape from the confines of living on a bus for months on end. Ultimately this lifestyle
took its toll, Elizabeth found the excesses too difficult to cope with, and the final Milk and Kisses tour ended abruptly. I felt that
we were performing to a high standard at this point, but I guess it ain't easy to drive the car very far with no gas! Our
experiences with labels and managers were also seriously troublesome, and certainly did not help in our relationships. In
general the machinations of music business dealings are rarely exposed in the public arena and the level of exploitation of
artists is often played down by the industry, but believe me the corruption is rife. The only losers are the artists and the
audience, though by the time we all realise it, it's too late. Funnily enough, it will always be written that 'personal differences'
split the group up, but we were no farther apart individually than any group that has been together 15 or so years. The cracks
began to show after we left 4AD, but instead of retracting ourselves from the 'business' of being in a band, and resurfacing
refreshed and intact with new music, we got sucked into the black corporate hole and eventually got spat out, sullied and spoilt.
We made some wrong turns in our business, and paid a price.
Bella Union was to be our renaissance, though perhaps for Elizabeth, it just came a little too late. Now, I can look back with
great pride at my own contribution to this period of music, and with some regret that my own personal relationships suffered as a
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result of being in this band. Musically, only time will tell what effect Cocteau Twins have had on people, but each day I am
reminded as emails continue to flood our computers, from teenage fans across the globe acclaiming this 'amazing new group,'
and also from long-time devotees desperate for news.
I have no news, but I have an exciting future ahead of me. I released a record of my own music, an album called Blame
Someone Else (BELLACD1 & 2), and I have been producing some fine artists, such as Billy Mackenzie, Nanaco, Tim Keegan,
and The Czars. Much of the last year I have been working hard, with Fiona, our highly able label manager, and Robin, to
develop the label internationally, and very soon I am going to have to take a break. I am a musician, and I mustn't forget who I
am.
Solo Work
1997
Blame Someone Else (Bella Union)
It's A Family Thing (Bella Union)
Collaborations
Like Robin and Liz, Simon has, from the beginning, accomplished a great deal outside of his work with Cocteau Twins.
1983
This Mortal Coil, Sixteen Days: "Sixteen Days" (Bass)
1984
This Mortal Coil, It'll End In Tears: "Kangaroo," "The Last Ray," "Barramundi," "Not Me," and "A Single Wish" (Various
instrumentation)
1986
This Mortal Coil, Filigree and Shadow: "The Jeweller," "Ivy and Neet," "Tears," "My Father," "Come Here, My Love," "Alone,"
and "Red Rain" (Various Instrumentation and Production)
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The Band
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They were a phenomenon. Not necessarily the kind that plays to stadiums or fills MTV's timeslots or even sells millions of
records. Rather, the kind that quietly causes a fundamental shift in perception, exerting a seminal influence that is universally
felt if not always seen. Even after having called it quits in 1998—ending a 15-year career together that was impressive by any
measure—their mark continues to be recognized everywhere, and legions of fans still hunger for more. But more is not likely to
come soon.
In the midst of recording their ninth proper LP as a group—the follow-up to the 1996 release Milk & Kisses—Cocteau Twins
decided "enough was enough." Elizabeth Fraser, the group's beguiling, singularly distinctive singer, took her leave and moved
away from London to pursue a promising solo career. Her long-time collaborators—Robin Guthrie and Simon Raymonde
—continue to focus on their own musical pursuits. Simon's solo work and involvement in developing new talent and Robin's new
project, Violet Indiana—along with their successful independent record label, Bella Union—have proven that life beyond
Cocteau Twins can be fruitful indeed.
It is ironic, of course, that Bella Union should have been founded as a vehicle for Cocteau Twins music. It was so named in
honor of the trio's success and determination to stay together through difficult circumstances, to continue to make music that
defied description and ignored prevailing music trends. Music that transcended boundaries into a realm uniquely their own.
But change, as they say, is inevitable, and even such stunning beauty as that created by Cocteau Twins could not—and,
perhaps should not—go on indefinitely. But their music and their contribution to the art form, thankfully, will last forever.
Cocteau Twins are among the very few artists whose music withstands the test of time: even in 2001, an eleven year-old
Cocteau Twins song like "Fifty-fifty Clown" sounds as fresh and new as if it were recorded only yesterday.
Devoted fans and newcomers alike are sometimes filled with questions about this often-mysterious, sometimes media-shy trio,
who were influential in not only defining the post-punk sound of the 1980's (and 4AD in the process) but also influenced
generations of musicians in the 1990's and beyond. To-date, they have been cited as notable influences by such diverse artists
as Prince, Madonna, Annie Lennox and Perfect Circle, not to mention bands such as Slowdive, Lush, My Bloody Valentine,
Chapterhouse and Curve (just to name a few), who all worked in musical territory pioneered by Cocteau Twins.
As recently as 2000—nearly twenty years after Robin and Liz first started to make music with their friend Will Heggie in a small,
dirty industrial town in Scotland—a two-CD collection of radio show performances (BBC Sessions) was released on Bella Union
in conjunction with the BBC. That was followed in late 2001 by an eighteen-track digitally remastered retrospective from 4AD
entitled Stars and Topsoil, which chronicled highlights from their career with their long-time record label from 1982 to 1990. The
story continued in 2003, as remastered early LPs Garlands, Head Over Heels, Treasure and Victorialand were reissued by
4AD. In 2005—an ill-fated year in which the band nearly reunited—4AD released a new limited-edition box-set, Lullabies to
Violaine, a compilation of digitally remastered EPs, singles and b-sides spanning the entire Cocteau Twins catalog (including
non-4AD music) from 1982 to 1996.
So, like a compilation of songs from various records, this chronological series of articles is intended to give the reader some
insight and perspective on Cocteau Twins, and document the span of their remarkable career together. Readers can look
forward to a book-format biography of Cocteau Twins, written by fan extraordinaire Leesa Beales, which is due sometime in the
near future. Visit www.cocteautwins.org for more details and the latest news on that.
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The Band
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Contact
Cocteau Twins have proven to be one of the most prolific bands in modern music, with dozens of releases spanning their
15-year career—nearly 140 individual songs.
This Discography and Videography focuses on the basic information about each release, with details concerning UK, Canadian
and US releases, with some information about Japanese or other international versions of material. For a more exhaustive
discographic analysis, visit the 4AD/Eyesore Database (for information up to 1991).
An extensive discography and gigography are also available at www.cocteautwins.org.
Garlands (1982)
Head Over Heels (1983)
Treasure (1984)
Victorialand (1986)
Blue Bell Knoll (1988)
Heaven or Las Vegas (1990)
Four-Calendar Café (1993)
Milk & Kisses (1996)
Iceblink luck (1990)
Evangeline (1993)
Snow (1993)
Bluebeard (1994)
Tishbite 1 (1996)
Tishbite 2 (1996)
Violaine 1 (1996)
Violaine 2 (1996)
(Partial listing)
"Night Must Fall" (1982)
"Lovers are Mortal" (1983)
Amsterdam, Netherlands (1983)
Newcastle, UK (1983)
"Scream" (1984)
"Unrealised Dreams" (Picture disc, 1984)
London, UK (1984)
Oslo, Norway (1984)
Interview Picture Disc (1985)
Columbus, OH USA (1985)
Paris, France (1986)
London, UK (1986)
Boston, MA USA (1990)
Lullabies (1982)
Peppermint Pig (1983)
Sunburst and Snowblind (1983)
* Tiny Dynamine and Echoes in a Shallow Bay were
re-released as a double EP by 4AD in late 1985, after each
had been released separately.
This Mortal Coil (1983-1984)
The Pink Opaque (1985)
The Moon and The Melodies (1986)
This Mortal Coil (1986)
Lonely Is An Eyesore (1987)
The Box Set (1991)
Lilliput (1992)
BBC Sessions (1999)
Stars and Topsoil (2000)
Lullabies to Violaine (2005)
Motion Picture Soundtracks (1982-1996)
Collaborations (1982-1996)
Song to the Siren (1984)*
Pearly-Dewdrops' Drops (1984)
Aikea-Guinea (1985)
Love's Easy Tears (1986)
Crushed (1987)
Carolyn's Fingers (1988)
Cico Buff (1988)
Iceblink luck (1990)
Evangeline (1993)
Bluebeard (1994)
Rilkean Dreams (1995)*
Tishbite (1996)
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Berkeley, CA USA (1990)
Berkeley, CA USA II (1990)*
Cologne, Germany (1990)
Detroit, MI USA (1990)
Brussels, Belgium (1994)
New Orleans, LA USA (1994)
New York, NY USA (1994)
Paris, France (1994)
Radio France (1994)
"Forgotten 4AD Tracks" (1994)*
Boston, MA USA (1996)
Seattle, WA USA (1996)
San Francisco, CA USA (1996)
* The second Live in Berkeley recording is a soundboard
tape from a second show, featuring a different set list.
* Please note that all John Peel Radio Session recordings,
as well as other BBC radio appearances are now available
legally and commercially on the BBC Sessions double-CD.
Live in Columbus, OH USA (1985)
Live in Vancouver, BC Canada (1991)
Unofficial "Bootleg" Video Compilation (1992)
Unofficial Online Fan Club Video Compilation (1994)
Live in Cincinnati, OH USA (1994)
"Pearly, Pink & White," Live in New Orleans, LA USA
(1994)
Live in Washington, DC USA (1994)
Unofficial VCD Compilations (2002)
* "Song to the Siren" was performed by Liz and Robin as
part of the 4AD project This Mortal Coil, and was not a
proper Cocteau Twins recording or video.
* Rilkean Dreams includes two videos: "Rilkean Heart" and
"Half-Gifts," each taken from the 1995 EP Twinlights.
* "Forgotten 4AD Tracks" is an illegal compilation of some
b-sides and EP tracks extracted from the various EPs sold
together in The Box Set.
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Blue Bell Knoll nenatis nunc? In hac habitasse platea dictumst. Sed sit amet sem pellentesque dui pulvinar semper. In sit amet
urna. Ut cursus sapien at felis. Aenean elementum, quam eget consectetur varius, mauris sem ullamcorper velit, sit amet uscipit
ipsum nulla condimentum sem.
Garlands taciti sociosqu ad litora torquent per conubia nostra, per inceptos himenaeos. Phasellus ac velit a nunc accumsan
viverra. Aliquam sem justo, vehicula sit amet; congue quis; convallis id, ipsum! Pellentesque in nisl at dui consequat suscipit.
Fusce vel sem ac metus aliquam hendrerit. Aliquam ut erat et eros gravida accumsan. Integer aliquet augue nec sem? Donec
lacus nisi, pulvinar vitae, consequat et, consequat in, enim. Aenean eu odio vitae lectus iaculis malesuada. Cras porttitor neque
ac nibh! Cras dapibus magna at nisi. Sed dui. Morbi turpis turpis, luctus ut, dapibus vel, tincidunt nec, sem. Phasellus quam
risus, suscipit et, tincidunt id, auctor eget, mi.
Head Over Heels hendrerit venenatis nunc? In hac habitasse platea dictumst. Sed sit amet sem pellentesque dui pulvinar
semper. In sit amet urna. Ut cursus sapien at felis. Aenean elementum, quam eget consectetur varius, mauris sem ullamcorper
velit, sit amet uscipit ipsum nulla condimentum sem.
Treasure aptent taciti sociosqu ad litora torquent per conubia nostra, per inceptos himenaeos. Phasellus ac velit a nunc
accumsan viverra. Aliquam sem justo, vehicula sit amet; congue quis; convallis id, ipsum! Pellentesque in nisl at dui consequat
suscipit. Fusce vel sem ac metus aliquam hendrerit. Aliquam ut erat et eros gravida accumsan. Integer aliquet augue nec sem?
Donec lacus nisi, pulvinar vitae, consequat et, consequat in, enim. Aenean eu odio vitae lectus iaculis malesuada. Cras porttitor
neque ac nibh!
Victorialand dapibus magna at nisi. Sed dui. Morbi turpis turpis, luctus ut, dapibus vel, tincidunt nec, sem. Phasellus quam risus,
suscipit et, tincidunt id, auctor eget, mi.
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October 1988
4AD Records
CAD 807
Capitol Records (USA)
35 minutes, 20 seconds
Track Listing
Blue Bell Knoll
Athol-Brose
Carolyn's Fingers
For Phoebe Still a Baby
The Itchy Glowbo Blow
Cico Buff
Suckling the Mender
Spooning Good Singing Gum
A Kissed Out Red Floatboat
Ella Megalast Burls Forever
Formats
Vinyl
Compact disc
Audio cassette
Digital Audio Cassette (DAT)
Crew
Elizabeth Fraser
Robin Guthrie
Simon Raymonde
Release Notes
Written and produced by Cocteau Twins.
Sleeve design by Paul West and Jeremy Tilston.
Photography by Juergen Teller.
Promotional videos were produced for "Carolyn's
Fingers" and "Cico Buff."
7-inch and 12-inch singles were released for
"Carolyn's Fingers" backed with "Ella Megalast Burls
Forever," and for "A Kissed Out Red Floatboat."
Blue Bell Knoll was the only Cocteau Twins LP to be
released commercially in DAT format (and was the
only 4AD release to ever appear in that format).
A limited edition gatefold sleeve design was available
for the vinyl format.
This was the first major label Cocteau Twins LP
release (on Capitol Records).
"Athol-Brose" was released as a single in Japan in
1990, backed with "Carolyn's Fingers" and "Iceblink
Luck," after having appeared in an automobile
commercial for television.
A live performance of "Ella Megalast Burls Forever"
was recorded for SNUB-TV in 1990.
The following songs appeared have appeared in live
performances: "Blue Bell Knoll," "Carolyn's Fingers,"
"For Phoebe Still a Baby," "Cico Buff," "A Kissed Out
Red Floatboat," and "Ella Megalast Burls Forever."
An extended version of "Blue Bell Knoll" was
performed during the 1996 Milk & Kisses Tour.
"Carolyn's Fingers" and "Cico Buff" appear on the
2000 compilation Stars and Topsoil.
Blue Bell Knoll was digitally remastered and
re-released by 4AD in 2003.
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June 1982
4AD Records
CAD 211
57 minutes, 37 seconds (UK & Canadian version)
32 minutes, 22 seconds (US version)
Track Listing
Blood Bitch
Wax and Wane
But I'm Not
Blind Dumb Deaf
Shallow Then Halo
The Hollow Men
Garlands
Grail Overfloweth
Also included on UK and Canadian Versions
John Peel Radio Sessions Selections from 1982-1983:
Dear Heart
Hazel
Hearsay Please
Blind Dumb Deaf
Bonus Tracks (from unreleased first single):
Speak No Evil
Perhaps Some Other Aeon
Formats
Vinyl
Compact disc
Audio cassette
Crew
Release Notes
Produced by Ivo and Cocteau Twins.
All titles written by Cocteau Twins.
Engineered by Eric and John at Blackwing Studios.
Thanks to Ivo, Vince and Nigel.
Art direction, design and photography by 23
Envelope.
Additional Peel Session vocals on "Dear Heart" and
"Hazel" by Gordon Sharp.
Lyrics from "But I'm Not," "Shallow then Halo,"
"Garlands," and "Grail Overfloweth" are printed on the
inner sleeve of the vinyl release.
The bonus Peel Session tracks on the original
compact disc and audio cassette releases have the
songs Hearsay Please and Hazel listed out of order.
A remixed version of "Wax and Wane" is available on
the 1985 release The Pink Opaque.
Peel Session recordings were later released as part
of BBC Sessions, in 1999.
A remastered version of "Blind Dumb Deaf" appears
on the 2000 compilation Stars and Topsoil.
"Wax and Wane" was performed during the 1996 Milk
& Kisses Tour, mixed live by Mark Clifford.
Garlands was digitally remastered and re-released by
4AD in 2003. The artwork for the first pressing of the
remaster incorrectly labels the track "Blood Bitch" as
"Blood Bath." It is a typographical error that was
subsequently corrected.
Voted #59 of "Scotland's 100 Best Rock and Pop
Albums" in 2003
Elizabeth Fraser
Robin Guthrie
Will Heggie
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August 1983
4AD Records
CAD 313
37 minutes, 1 second
Track Listing
When Mama Was Moth
Five Ten Fiftyfold
Sugar Hiccup
In Our Angelhood
Glass Candle Grenads
In the Gold Dust Rush
The Tinderbox (of a heart)
Multifoiled
My Love Paramour
Musette and Drums
Formats
Vinyl
Compact Disc
Audio Cassette
Crew
Elizabeth Fraser
Robin Guthrie
Release Notes
Produced by Cocteau Twins and John Fryer at
Palladium Studios, Edinburgh.
Engineered by Jon Turner.
Special thanks to Ally for saxophone on "Five Ten
Fiftyfold."
Art direction and design by 23 Envelope.
Lyrics from "When Mama Was Moth," "Glass Candle
Grenades," "The Tinderbox (of a heart)," and "My
Love Paramour" are printed on the inner sleeve of the
vinyl release.
The EP Sunburst and Snowblind was included on the
UK and Canadian cassette and CD versions of Head
Over Heels.
The track "Musette and Drums" appears on the 1985
compilation The Pink Opaque.
Remastered versions of "Sugar Hiccup" and "My
Love Paramour" appear on the 2000 compilation
Stars and Topsoil.
The following songs have appeared in live
performances: "Sugar Hiccup," "My Love Paramour,"
and "Musette and Drums."
An instrumental track, "My Hue and Cry," was
recorded during this period but never released until a
Radio Sessions version appeared in 1999 on the
BBC Sessions.
Head Over Heels was digitally remastered and
re-released, with original artwork, by 4AD in 2003.
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October 1984
4AD Records
CAD 412
Track Listing
Ivo
Lorelei
Beatrix
Persephone
Pandora (for Cindy)
Amelia
Aloysius
Cicely
Otterley
Donimo
Formats
Vinyl
Compact disc
Audio Cassette
Crew
Elizabeth Fraser
Robin Guthrie
Simon Raymonde
Release Notes
All titles written and produced by Cocteau Twins.
Recorded during August and September, 1984 at
Palladium Studios, Edinburgh and Rooster, West
London.
Engineered by Jon Turner and Droston J. Madden.
Thanks to Yvonne and Pierrot for sleeve props.
Art direction, design and photography by 23
Envelope.
Alternate Peel Session recordings were done for
"Ivo," "Beatrix," and "Otterley."
The Aikea-Guinea EP was included with the
Canadian version of Treasure.
"Lorelei," "Pandora" and "Aloysius" have appeared in
live performances.
"Lorelei" was performed live on the UK television
programme Whistle Test in 1985.
"Lorelei" was featured on the 1985 compilation The
Pink Opaque.
"Lorelei" and "Pandora" are featured on the 2000
compilation Stars and Topsoil.
Treasure was digitally remastered and re-released by
4AD in 2003.
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April 1986
4AD Records
CAD 602
Track Listing
Lazy Calm
Fluffy Tufts
Throughout the Dark Months of April and May
Whales Tails
Oomingmak
Little Spacey
Feet-Like Fins
How to Bring a Blush to the Snow
The Thinner the Air
Formats
Vinyl
Compact disc
Audio cassette
Release Notes
Produced by Cocteau Twins.
All titles written and performed by Robin Guthrie and
Elizabeth Fraser.
Richard Thomas plays saxophone and tablas
courtesy of Dif Juz.
Art direction and design by 23 Envelope.
An instrumental version of "Oomingmak" was
released with the 1991 CD Box Set.
"Lazy Calm" and "Whales Tails" have been performed
live since their release.
An ambient remix of "Feet-Like Fins," by Mark
Clifford, appears on the 1995 EP Otherness.
"Lazy Calm" and "The Thinner the Air" appear on the
Victorialand was digitally remastered and re-released
by 4AD in 2003.
Crew
Elizabeth Fraser
Robin Guthrie
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Lullabies hendrerit venenatis nunc? In hac habitasse platea dictumst. Sed sit amet sem pellentesque dui pulvinar semper. In sit
amet urna. Ut cursus sapien at felis. Aenean elementum, quam eget consectetur varius, mauris sem ullamcorper velit, sit amet
uscipit ipsum nulla condimentum sem. Class aptent taciti sociosqu ad litora torquent per conubia nostra, per inceptos
himenaeos. Phasellus ac velit a nunc accumsan viverra. Aliquam sem justo, vehicula sit amet; congue quis; convallis id, ipsum!
Pellentesque in nisl at dui consequat suscipit.
Peppermint Pig vel sem ac metus aliquam hendrerit. Aliquam ut erat et eros gravida accumsan. Integer aliquet augue nec sem?
Donec lacus nisi, pulvinar vitae, consequat et, consequat in, enim. Aenean eu odio vitae lectus iaculis malesuada. Cras porttitor
neque ac nibh! Cras dapibus magna at nisi. Sed dui. Morbi turpis turpis, luctus ut, dapibus vel, tincidunt nec, sem. Phasellus
quam risus, suscipit et, tincidunt id, auctor eget, mi.
Sunburst and Snowblind hendrerit venenatis nunc? In hac habitasse platea dictumst. Sed sit amet sem pellentesque dui
pulvinar semper. In sit amet urna. Ut cursus sapien at felis. Aenean elementum, quam eget consectetur varius, mauris sem
ullamcorper velit, sit amet uscipit ipsum nulla condimentum sem. Class aptent taciti sociosqu ad litora torquent per conubia
nostra, per inceptos himenaeos. Phasellus ac velit a nunc accumsan viverra. Aliquam sem justo, vehicula sit amet; congue quis;
convallis id, ipsum! Pellentesque in nisl at dui consequat suscipit.
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Lullabies
October 1982
4AD Records
BAD 213
History
Track Listing
Feathers Oar Blades
Alas Dies Laughing
It's All But An Ark-Lark
Formats
Vinyl
Compact disc
Crew
Elizabeth Fraser
Robin Guthrie
Will Heggie
Release Notes
Written by Cocteau Twins.
Produced by Ivo Watts-Russell.
Recorded at Palladium Studios, Edinburgh,
engineered by Jon Turner.
Mixed at Blackwing Studios, London, engineered
by John Fryer.
Alternate Peel Session recordings were made for
"Feathers Oar Blades" and "Alas Dies Laughing,"
both available on the BBC Sessions.
Re-released in 1991 as part of The Box Set.
Digitally remastered and re-released in 2005 as
part of Lullabies to Violaine.
All three songs have been performed live.
Sleeve design by 23 Envelope.
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March 1983
4AD Records
BAD 303
Track Listing
Peppermint Pig (7-inch version)*
Laugh Lines
Hazel
Peppermint Pig (12-inch extended version)*
Formats
Vinyl
Compact disc
Crew
Elizabeth Fraser
Robin Guthrie
Will Heggie
Release Notes
Produced by Alan Rankin.
Engineered by John Fryer.
Recorded at Blackwing Studios, London.
An alternate Peel Session recording was produced
for "Hazel" in 1983 featuring additional vocals by
Gordon Sharp, and is available on UK and Canadian
pressings of Garlands, as well as on the BBC
Sessions.
Digitally remastered and re-released in 2005 as part
of Lullabies to Violaine.
"Hazel" has appeared in live performances.
* Later pressings included both the 7-inch and
12-inch versions of "Peppermint Pig."
Sleeve design by 23 Envelope. Photography by Nigel
Grierson.
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September 1983
4AD Records
BAD 314
Track Listing
Sugar Hiccup (12-inch extended version)
From the Flagstones
Hitherto
Because of Whirl-Jack
Formats
Vinyl
Compact disc
Audio cassette
Crew
Elizabeth Fraser
Robin Guthrie
Release Notes
Produced by Cocteau Twins and John Fryer except
tracks 1 and 3 produced by Cocteau Twins.
Recorded and mixed at Palladium Studios,
Edinburgh.
Sunburst and Snowblind was included with Head
Over Heels on CADC 313 and CADCD 313.
Alternate John Peel Session recordings were done
for "Sugar Hiccup," "From the Flagstones" and
"Hitherto," and are available on BBC Sessions.
The tracks "From the Flagstones" and "Hitherto"
appear on the 1985 compilation The Pink Opaque.
A remastered version of "Sugar Hiccup" appears on
the 2000 compilation Stars and Topsoil.
of Lullabies to Violaine.
"Sugar Hiccup," "From the Flagstones" and "Hitherto"
have appeared in live performances.
Sleeve design by 23 Envelope.
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Bluebeard hendrerit venenatis nunc? In hac habitasse platea dictumst. Sed sit amet sem pellentesque dui pulvinar semper. In
sit amet urna. Ut cursus sapien at felis. Aenean elementum, quam eget consectetur varius, mauris sem ullamcorper velit, sit
amet uscipit ipsum nulla condimentum sem.
Heaven or Las Vegas aptent taciti sociosqu ad litora torquent per conubia nostra, per inceptos himenaeos. Phasellus ac velit a
nunc accumsan viverra. Aliquam sem justo, vehicula sit amet; congue quis; convallis id, ipsum! Pellentesque in nisl at dui
consequat suscipit. Fusce vel sem ac metus aliquam hendrerit. Aliquam ut erat et eros gravida accumsan. Integer aliquet augue
nec sem? Donec lacus nisi, pulvinar vitae, consequat et, consequat in, enim. Aenean eu odio vitae lectus iaculis malesuada.
Ice Blink Luck hendrerit venenatis nunc? In hac habitasse platea dictumst. Sed sit amet sem pellentesque dui pulvinar semper.
In sit amet urna. Ut cursus sapien at felis. Aenean elementum, quam eget consectetur varius, mauris sem ullamcorper velit, sit
amet uscipit ipsum nulla condimentum sem.
28/09/2009 22:52
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February 1994
Mercury Records/Fontana
CTCD2
Track Listing
Bluebeard
Three-Swept
Ice-Pulse
Bluebeard (acoustic version)
Formats
Release Notes
Written, performed, and produced by Cocteau Twins.
Additional engineering by Lincoln Fong.
Recorded and mixed at September Sound, London.
A promotional video was produced for "Bluebeard."
"Bluebeard" has appeared in live performances.
o
Vinyl
Compact disc
Crew
Elizabeth Fraser
Robin Guthrie
Simon Raymonde
28/09/2009 21:18
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October 1990
4AD Records
CAD 0012
(Limited promotional release.)
History
Track Listing
Heaven or Las Vegas (edit)
Dials
Heaven or Las Vegas
Formats
Vinyl
Compact disc
Release Notes
Written, recorded, and produced by Cocteau Twins at
September Sound, London.
The "edit" version of "Heaven or Las Vegas" was
featured in the promotional video.
"Dials" was used as the prelude music for live
performances during 1990/1991, and was included
on the bonus disc of the 1991 CD Box Set.
The album version of "Heaven or Las Vegas" is
featured on the 2000 compilation Stars and To
Crew
Elizabeth Fraser
Robin Guthrie
Simon Raymonde
28/09/2009 21:18
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August 1990
4AD Records
AD/BAD 0011
Track Listing
Iceblink Luck
Mizake the Mizan
Watchlar
Formats
Vinyl
Compact disc
Audio cassette
Release Notes
Written, recorded, and mixed by Cocteau Twins at
September Sound, London.
All three songs have been performed live since 1990.
A promotional video was produced for "Iceblink Luck".
"Iceblink Luck" and "Watchlar" are featured on the
of Lullabies to Violai
Crew
Elizabeth Fraser
Robin Guthrie
Simon Raymonde
28/09/2009 21:19
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Collaborations (1982-1996)
These items are collaborations undertaken by at least two of the band members together, not necessarily collaborations by
individuals. Complete listings of collaborative or side projects by Liz, Robin and Simon individually are available elsewhere on
this site.
1984
This Mortal Coil, It'll End In Tears: "Sixteen Days," "Kangaroo," "Song to the Siren," "The Last Ray," "Another Day,"
"Barramundi," "Not Me," "A Single Wish" (Liz, Robin & Simon)
The Wolfgang Press, Scarecrow: "Respect" (Liz & Robin)
1985
Dif Juz, Extractions (Liz & Robin), The Pink Opaque
1986
Harold Budd, The Moon and The Melodies (all tracks) (Liz, Robin & Simon)
Harold Budd, Lovely Thunder (Robin & Simon)
1987
Felt, Ignite the Seven Cannons: "Primitive Painters" (Liz & Robin)
1988
Harold Budd, The White Arcades (Robin & Simon)
1992
Ian McCulloch, Mysterio: "Heaven's Gate," "Vibor Blue" (Liz & Robin), Lilliput
1993
Medicine, Sounds of Medicine: "Time Baby 3" (Liz & Robin)
Various Artists, Peace Together: "Be Still (Robin Guthrie Mix)" (Liz & Robin)
1994
Fuel, Timeless EP: "Butterfly Knife" (Liz & Robin)
Faye Wong (Wangfei), "Know Who You Are At Every Age," "Bluebeard" (Liz, Robin & Simon)
1995
Mark Clifford, Otherness (Liz, Robin & Simon)
1996
Faye Wong (Wangfei), "Rilkean Heart," "Serpentskirt," "Tranquil Eye," and "Touch Upon Touch" (Liz, Robin & Simon)
Spooky, Found Sound: "Hypo-Allergenic" (Liz, Robin & Simon)
28/09/2009 22:53
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Sixteen Days - Gathering Dust (1983) - BAD 310
It'll End In Tears (1984) - CAD 411
4AD Records
Tracks featuring Cocteau Twins
Sixteen Days - Gathering Dust
It'll End In Tears
Sixteen Days
Song to the Siren
Sixteen Days (reprise)
Kangaroo
Song to the Siren
The Last Ray
Another Day
Barramundi
Not Me
A Single Wish
Vocals by Elizabeth Fraser
Guitar by Robin Guthrie
Produced by Ivo and John Fryer.
Engineered by John Fryer.
"Kangaroo": Bass, acoustic guitar, and Yamaha DX7:
Simon Raymonde
"Song to the Siren": Vocals: Elizabeth Fraser; Guitars:
Robin Guthrie
"The Last Ray": 6 and 12-string acoustic, electric,
and e-bow guitars: Robin Guthrie; Bass: Simon
Raymonde
"Another Day": Vocals: Elizabeth Fraser
"Barramundi": Guitars and Yamaha DX7: Simon
Raymonde
"Not Me": Guitar: Robin Guthrie; Bass: Simon
Raymonde
"A Single Wish": Gizmo and DX7: Simon Raymonde
Conceived and produced by Ivo.
Co-produced and engineered by John Fryer.
All additional loops, instruments, and incidentals by
Ivo and John Fryer.
Videos were produced for "Song to the Siren" and
"Kangaroo."
Robin and Elizabeth did not participate in This Mortal
Coil following It'll End In Tears.
28/09/2009 21:19
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November 1985
4AD Records
CAD 513
Track Listing
Release Notes
The Spangle Maker
Millimillenary
Wax and Wane
Hitherto
Pearly-Dewdrops' Drops
From the Flagstones
Aikea-Guinea
Lorelei
Pepper-Tree
Musette and Drums
"Wax and Wane" is re-mixed from the album Garlands, recorded in spring
1982, when Cocteau Twins comprised Robin Guthrie, Elizabeth Fraser, and
Will Heggie. By the summer of 1983 Will Heggie had departed and material
was produced for the subsequent release Sunburst and Snowblind, from
which "Hitherto" and "From the Flagstones" are taken. Simon Raymonde
joined Cocteau Twins in late 1983 and new material included "The Spangle
Maker," "Pearly-Dewdrops' Drops," and "Pepper-Tree," which were released
as a 12" EP, and the song "Millimillenary," which appeared on an NME
compilation tape. "Lorelei" was recorded in the summer of 1984 for the album
Treasure, and "Aikea-Guinea" produced for 7" and 12" EP release in early
1985. All songs produced by Cocteau Twins except "Wax and Wane,"
Cocteau Twins/Ivo. "Millimillenary" was performed live during 1984/85.
Formats
Vinyl
Compact disc
Audio cassette
Art direction and sleeve design by 23 Envelo
Crew
Elizabeth Fraser
Robin Guthrie
Will Heggie
Simon Raymonde
28/09/2009 21:19
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1986
4AD Records
CAD 611
Track Listing
Sea, Swallow Me
Memory Gongs
Why Do You Love Me?
Eyes are Mosaics
She Will Destroy You
The Ghost Has No Home
Bloody and Blunt
Ooze Out and Away, Onehow
Release Notes
All songs written and produced by Budd, Fraser, Guthrie, Raymonde.
Richard Thomas plays saxophone on tracks 5 & 6 and drums on track
7 courtesy of Dif Juz.
Art direction, design and photography by 23 Envelope.
The track "Memory Gongs" was later released on Harold Budd's LP
Lovely Thunder, under the title "Flower Knife Shadows."
"Sea, Swallow Me" appeared on live set lists in 1986.
Formats
Vinyl
Compact disc
Audio cassette
Crew
Harold Budd
Elizabeth Fraser
Robin Guthrie
Simon Raymonde
28/09/2009 21:20
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4AD Records
Track featuring Cocteau Twins
The Spangle Maker
Lilliput was a special 4AD project which included a two-CD compilation of songs by various 4AD artists from 1981 1992. The deluxe, limited-edition (only 3,000 were made) format included two compact discs, a booklet, and a
t-shirt. The booklet included a brief history of 4AD, numerous 23 Envelope/v23 photographs, and descriptions of
each of the featured tracks and artists.
28/09/2009 21:20
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Here's the place to view Cocteau Twins videos, listen to rare, unreleased or live audio and read the many dozens of press
articles and interviews from the past 20 years. While numerous outlets exist online for fans to view or listen to these various
media, few places offer a central repository for accessing it easily—and very few of the articles and interviews would be
available if it weren't for our extensive archive of clippings.
Select Video to view all promotional videos from 1984 to 1996 (plus one or two bonus videos).
The Audio link will provide you with a list of hard-to-find, never-released or choice live performance recordings. For reasons of
copyright and general fairness to the artists, these are available as FM radio quality VBR MP3s for your listening pleasure.
Finally, the Print section offers a list of links to article and interview transcripts dating all the way back to 1982. Not all of them
are accessible yet, but they will be added over time as the material is converted to HTML format.
To get the most out of your Cocteau Twins media experience, you'll need to download and install a compatible media player.
28/09/2009 21:41
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Look for a page of select live recordings and video, coming soon!
Albums, EPs and Singles
Samples of album and EP tracks are widely available on the Internet. Amazon.com's Music Sampler (Beta version), allows you to
listen to tracks from most of the albums with ease, as well as browse other artists similar to or related to Cocteau Twins. (This
does not represent an endorsement of Amazon.com by Cocteau Twins.)
Below you will find a collection of audio and video files available listening and viewing.
Song to the Siren.mp3
Blue Bell Knoll.mp3
Bluebeard.mp3
Pur.mp3
28/09/2009 21:20
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Of all the bands to come out of the early 1980's—the decade of MTV and the music video—the Cocteau Twins are among the
few who chose not to exploit the medium to their commercial advantage. It came down to a simple desire to either do something
unique with video or nothing at all.
From 1988 (with the advent of a major label recording contract with Capitol), fans could expect one or two—often visually
rich—videos with each album release. Unfortunately, the major music video networks had little interest in putting them in heavy
rotation, so many people have never seen one. Here we offer the opportunity to see them all—including their earliest (and one
of the band's least favorite), "Pearly-Dewdrops' Drops," filmed in 1984—as well as a few bonuses.
These files are all available in QuickTime format. Simply click on the video title to watch. (Videos play in a pop-up window. If you
have a pop-up blocker on, please disable it for this site.)
You can also check out a variety of videos—including live peformances—at YouTube.com.
Below you will find a collection of audio and video files available listening and viewing.
Song to the Siren - Video
Heaven or Las Vegas - Video
Evangeline.mp3
28/09/2009 21:20
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28/09/2009 21:21

Documento sin título - Student Pages

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